Robbie Robertson returns with new album, 'How to Become Clairvoyant'

David Jordan Williams/Williams StudioRobbie Robertson's new album, "How To Become Clairvoyant," is his first collection of new songs since 1998.

Robbie Robertson didn’t sing much when he was in the pioneering roots-rock group, the Band. There was a reason why: The guitarist-songwriter has a limited vocal range and a craggy tone, and the Band boasted two of the all-time-great rock ’n’ roll vocalists — drummer Levon Helm and pianist Richard Manuel — with bassist Rick Danko not far behind.

Still, Robertson’s wizened, soulful whisper can get under your skin — in a good way. And he never has used it as well as he does on his new album, “How to Become Clairvoyant,” which is being released today. It’s his first collection of songs since 1998 and only the fifth he has released since the Band broke up in 1976, though he has worked on many soundtracks — including ones for Martin Scorsese movies such as “Raging Bull,” “Casino,” “Gangs of New York” and “Shutter Island” — since then.

Eric Clapton plays guitar on seven “Clairvoyant” songs and sings duet vocals on one; Tom Morello of Rage Against the Machine, Trent Reznor of Nine Inch Nails, Robert Randolph and Steve Winwood also make contributions. Songs such as “When the Night Was Young,” about Robertson’s early days as a musician, and “This Is Where I Get Off,” about the Band’s breakup, are more autobiographical than anything he has written before.

Robertson, 67, is also planning to write a memoir. One Band member, Helm, has done so already and was, in fact, extremely critical of Robertson in his 1993 book, “This Wheel’s on Fire.” Helm accused Robertson of not sharing songwriting credits fairly and editing the Band’s 1978 farewell movie, “The Last Waltz,” to make himself look like more of the group’s leader than he really was.

We spoke to Robertson by phone, last week.
Q. One of the things I really like about the album is, like your soundtracks, it has a great sense of atmosphere, but the songs are really strong. Does a song-oriented project like this feel a little closer to your roots?

A. It’s definitely closer. In the soundtracks, you have to serve the story. When I’m working with Martin Scorsese, I’m really trying to read his mind, and to feel where these things are going. For me, it’s an interesting challenge. I have such appreciation for his work and everything, and his musicality as well.

So that’s over there, and this is over here. But these things do tend to bleed into each other.

Q. It’s been a long time since you made a non-soundtrack album. Is that because you didn’t have songs you felt strongly about, or were just too busy with the soundtracks?

A. I wasn’t thinking about it. I was just in a different place. I got off that train a long time ago — that I have an obligation to deliver records. I deliver records when I feel inspired, as opposed to when someone else thinks it’s time for me to do it.

Q. There’s some autobiographical stuff on this album, and I hear you’re thinking about writing your memoir. Are the two things related at all?

A. They are. It’s a bit of a mystery to me, but it opened the door for me. I felt so much more comfortable about touching on personal things. In the past, I was more comfortable taking the mythical route and the fictional-character route. Of course those things are personal, too, but it was a way to hide behind those characters. And now, for some reason, I really feel anxious to tell those stories, and tap into that.

Q. Will the book be straightforward and chronological, or more like stories, like the Dylan memoir (“Chronicles, Vol. 1”)?

A. I don’t know. I’ve got Bob’s book, but I haven’t read it. But the structure part of it is … I won’t be starting at the beginning and working my way to the end. I’m interested in structure, and I want to hopefully do it in a way that’s interesting storytelling.

Q. Are there misconceptions about the past that you want to clear up?

A. There’s nothing I need to clear up. I just want to tell the story from my point of view.

MGMThe Band in "The Last Waltz" (left to right, Richard Manuel, Robbie Robertson, Rick Danko, Levon Helm and Garth Hudson).

Q. Of course, Levon has told his story. At least you can offer your side.

A. Yeah. I have no problem with Levon, with whatever it is that he’s describing. He’s an extraordinary musician and a great guy. We’ve been through a fellowship together; it doesn’t get much deeper than that. I have a lot of wonderful things to say about Levon. But I’m just going to tell the truth in all of this. And it’s not a confessional. I just want to pass on these stories while they’re still fresh.
Q. I saw an item that you were going to do some performing with the band Dawes.

A. I want to do some things just in support of the record. We’ll do some TV shows together over the next couple of months, I’m sure. I really like them. Taylor Goldsmith, the lead singer in the band, did a bunch of backing vocals on my record. That’s how I got hooked into them.

Q. What do you like about them?

A. They just play good, honest music, and they’re very interested in the craft. They’re not looking to be trendy. They’re not looking to be liked for any other reason than their music.

Q. At one point there were rumors that you and Clapton would be doing a joint album. Did that turn into this?

A. Yes. When we were recording, we didn’t know if we were making an Eric record, a Robbie record or a duet record. We were going to see what happened, and I really liked the idea that we didn’t have to have a big idea going in. And after we recorded these tracks, it was Eric who said, “You’ve done most of the writing for this, and you have a focus and a direction in mind, and I’m just delighted to be able to be supportive, and if you want me to sing or play or do whatever, I’m there.”

Q. Trent Reznor is on the album as well. How did that come about?

A. He is now in a cinematic place, and that’s partially where I live. So when I was trying to figure out what I wanted to do with this traditional, thematic piece of music, it struck me that that would be brilliant casting. And he said, “I’d love to do this,” and he did it in such a way that … it was exactly what I hoped it was going to be, and what I had in my imagination.